Strickland discusses Flux Gourmet’s depiction of “sonic catering” and why his Greek heritage features prominently in the film.
The film heightens the clash between different artists’ egos, and between their conflicting visions of meaningful work, to absurd heights.
Strickland’s film is another fetish object that rues the perils of fetishism.
The film receives a beautiful transfer and an unconventionally revelatory deleted-scenes collection.
Peter Strickland charges full-tilt into the objectifying whims of his fantasies in order to somehow reach the other end of perception.
You can’t help but be impressed by how much it represents a natural, even defensive evolutionary step on its creator’s part.
An unsettling psychological freak-out that takes cinema and the senses to its farthest extremes.
Peter Strickland understands the most terrifying subtext of any horror movie and brings it brilliantly to the forefront.
Miss Lovely envisions a world in which Hollywood glamour has been passed through a filter of grime and decay.
The real world, or at least the attempt to transmit some finite aspect of it, has been the aim of many a film.